Orchestra Violin 1, Violin 2, Viola, Cello, Contrabass

SKU: PR.11640110S

Composed by Adolphus Hailstork. Full score. Duration 8 minutes. Theodore Presser Company #116-40110S. Published by Theodore Presser Company (PR.11640110S).

UPC: 680160682744.

The Essay for Strings was written in 1986 in memory of Glenn Hull, a colleague and the choir director at Norfolk State University during my early years there. His sudden passing was a shock, and I expressed my sadness in this work. It was premiered that year by the NSU orchestra at their Winter concert. In w000, after conductor-composer Coleridge Taylor Perkinson gave the work its second performance in Chicago (with the ensemble of the Center For Black Music Reasearch), I decided to add it to my catalog of orchestra works. The designation Essay refers to the fact that the piece is based on one idea (like a literary essay). In this case the musical idea (or motive) is made from the initials of my deceased friend, Glenn Hull (G and H in music are represented by the pitches G and B-natural). These two notes are sounded throughout the work in tribute to him.

Orchestra Violin 1, Violin 2, Viola, Cello, Contrabass

SKU: PR.11640110L

Composed by Adolphus Hailstork. Large Score. Duration 8 minutes. Theodore Presser Company #116-40110L. Published by Theodore Presser Company (PR.11640110L).

UPC: 680160682751.

The Essay for Strings was written in 1986 in memory of Glenn Hull, a colleague and the choir director at Norfolk State University during my early years there. His sudden passing was a shock, and I expressed my sadness in this work. It was premiered that year by the NSU orchestra at their Winter concert. In w000, after conductor-composer Coleridge Taylor Perkinson gave the work its second performance in Chicago (with the ensemble of the Center For Black Music Reasearch), I decided to add it to my catalog of orchestra works. The designation Essay refers to the fact that the piece is based on one idea (like a literary essay). In this case the musical idea (or motive) is made from the initials of my deceased friend, Glenn Hull (G and H in music are represented by the pitches G and B-natural). These two notes are sounded throughout the work in tribute to him.

Trumpet Solo. By Various. Arranged by G Johnson. (Trumpet). Brass Method. Size 9x12 inches. 128 pages. Published by G. Schirmer, Inc.

Edited by Paul Stewart Cranford. Arranged by Melissa Emmons. For Fiddle. Solos. Cranford Publications. Canadian-Maritime. Intermediate. Book. 80 pages

Choral alto 1, alto 2, solo Voices, soprano 1, soprano 2

SKU: CF.CM9768

Composed by Z. Randall Stroope. Duration 3 minutes, 19 seconds. Carl Fischer Music #CM9768. Published by Carl Fischer Music (CF.CM9768).

ISBN 9781491160343. UPC: 680160923298. Key: G major. English.

About the WorkThe text of this work is most often attributed to Ralph Waldo Emerson, although it doesn't mirror his style, and no research credits an essay, book or letter with its source. Other individuals are occasionally suggested as possible authors, but equally unsubstantiated. Even whether the textis a poem or a quote seems unclear. But there is one thing that is without question: that this beloved text has inspired countless people and contributed toward a view of the world through eyes of hope, resilience, courage, beauty, and joy. Music for this text flowed more easily than about any text I have ever set. It has an emotional connection that is mystical, and after I read it for the first time, I immediately sat down and wrote this work without stop.Rehearsal NotesIn many cases, art is more expressive and reaches a wider range of human emotions when multiple artistic fields are fused together. Such is the case with choral music: the intertwining of literature, music, and very often dance, visual arts, and more. The story in choral music is often quite specific, much like film scoring. At times, the music is the picture frame (score) around the picture (text), while at others the music is the leading dramatic/emotional impetus.In the present case (My Farewell Wish), the text is sincere, innocent, heartfelt, and earnest. By all accounts, the message is altruistic, expressing selfless desire for another's present/future happiness. Capturing this message has a strong reliance on the performers to not only carry the emotional intent of the moment (a phrase of text or a measure), but the the energy and continuance of the message throughout.The use of the [o] vowel functions almost as instrumental interludes or underpinning of strings. The conductor may use the [o] as indicated in the score, or a [u] vowel, a hum (with [o] as the vowel inside the mouth), or all three at different times for different reasons. In an acoustical performance (no mic), the soloist and the ensemble are a reflection of each other's natural sound. And, even gentle, warm solo voices should have no trouble projecting.Two final thoughts: 1) the obbligato or added voice or two on high passages (m. 66) or a single note (final chord) will be best delivered by lyrical, pure voices with demonstrated control; and 2) the metronome marking of 80 bpm (mm. 1–81) was strongly considered and should be followed.About the ComposerZ. Randall Stroope is an American composer and conductor. His composition teachers were Normand Lockwood and Cecil Effinger, both students of the Nadia Boulanger, the famous French teacher (and student of Gabriel Fauré). Randall is the artistic director of two international summer music festivals, is an Honorary Board Member of the NationalAssociation of Italian Choral Directors, and has conducted in 25 countries. He has directed over 40 times at Carnegie Hall, and is a frequent conductor at other prestigious concert venues. Randall has 190 published works, and his music can be heard on Spotify, YouTube and other platforms, including his website (www.zrstroope.com).

By Michael Proksch. For Piano, 4-hands. This edition: Piano, 4-hands. Edition Breitkopf. Attached. 48 pages. Published by Breitkopf and Haertel (German import).

Voice 4 (Bass)in B (Notviolin)(Tsecond romb,Tthird romb,horn-Bar,Euph,B-Tuba ) (4. Voice (Bass) in B (Treble clef) (2. Trombone, 3. Trombone, Baritone horn, Euphonium, B-Tuba))

SKU: BA.BA11242-49

Edited by Andreas Dewey, Bernhard Blitsch, and Richard Mailänder. Ring stitching. Eigenteil des Erzbistums Köln. Single part. 82 pages. Baerenreiter Verlag #BA11242_49. Published by Baerenreiter Verlag (BA.BA11242-49).

ISBN 9790006563630. 15 x 21 cm inches.

The acclaimed percussionist Christian Dierstein has joined forces with a research group at the Basel Academy of Music to examine the techniques of percussion playing from an innovative perspective. The main focus falls less on the instruments than on their sound producers: beaters, mallets, sticks, bows, specific manual techniques up to and including electronic pulse generators. This book describes all of them in detail and illustrates their range of application in carefully selected and annotated examples from the repertoire.

Many essays by guest authors such as Nicolaus A. Huber, Steven Schick, Fritz Hauser and Bernhard Wulff relate the performance descriptions to ongoing aesthetic debates. They reveal that sound production and interaction with sound-generating objects have moved centre stage in contemporary composition and its expanded concepts of material and performance. The result is a comprehensive reference book for composers and performers that will also serve as a source of inspiration for future innovative approaches in percussion playing.

The authors
Christian Dierstein completed his musical studies with Bernhard Wulff (Freiburg), Gaston Sylvestre (Paris) and Wassilios Papadopulus (Mannheim). A multiple prize-winner at music competitions, he has played percussion withEnsemble Recherchesince 1988 andTrio Accantosince 1994 together with Nic Hodges and Marcus Weiss. In addition he has been professor of percussion and contemporary chamber music at the Basel Academy of Music since 2001.

Michel Roth is professor of composition and music theatre at the Basel Academy of Music and a member of its research department. As a composer he is a regular guest at music festivals, recently with a focus on music theatre. In 2017 Barenreiter published hisTechniques of Trombone Playingco-written with Mike Svoboda. This was awarded theBest Editionprize by the German Music Publishers Association in 2018.

Jens Ruland studied percussion with Carlos Tarcha at the Cologne University of Music (2007-12) where he completed his performance and teaching degree with distinction. Since 2012 he has consolidated his studies with Christian Dierstein in Basel. He is a founding member ofhand werk(Cologne),232 percussion(Cologne),Ensem ble New4Art(Switzerland) and the music theatre duoAkt-tkA(Spain and Switzerland).